Fans of Quentin Tarantino's films have come to expect certain things from his films. Whether that expectation is excessive violence, long camera shots, a barefoot woman, clever dialogue, fake product placement, or just a slew of four-letter words, Tarantino rarely ever fails his audiences. To celebrate one of our favorite filmmakers, we take a look at 30 facts about his movies you may not know. Trust us, this is just the tip of the iceberg in this case though.
1. Quentin Tarantino wrote the part of Jules in Pulp Fiction specifically for Samuel L. Jackson after seeing him audition for Reservoir Dogs.
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Jackson had auditioned for the role of the man who trains Mr. Orange, but the part eventually went to Randy Brooks.
2. Inglourious Basterds star Eli Roth has claimed he was able to get into the mindset of the violent "Bear Jew" character because of the costumes.
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He's admitted that "wool underwear will make you want to kill anything" and also the music of Hannah Montana, which his girlfriend added to his iPod. It somehow filled him with the rage he needed to wield his baseball bat.
3. While filming Django Unchained, Leonardo DiCaprio had to stop filming at one point as he struggled using so many racial slurs.
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Samuel L. Jackson responded by pulling him aside and saying, "Motherf**ker, this is just another Tuesday for us."
4. Daryl Hannah's Kill Bill character, Elle Driver, has the code name "California Mountain Kingsnake." In fact, hers is the only Deadly Viper Assassination Squad code name that isn't a venomous snake.
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The name is fitting since she also isn't able to poison The Bride when she's in the hospital because Bill calls her before she can.
5. The iconic dance scene featuring Uma Thurman and John Travolta at Jack Rabbit Slim's is copied as an homage to Federico Fellini's 8½.
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6. According to Tarantino, German-born actor Til Schweiger (Sgt. Stiglitz) had always refused film roles that required him to don a Nazi uniform; he only agreed for Inglourious Basterds because he would be ["doin' one thing and one thing only,] killin' Nazis."
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7. At the very beginning of Kill Bill's O-Ren Ishii fight scene, Lucy Liu, in Japanese, says, "I hope you've saved your energy. If you haven't, you may not last 5 minutes."
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It is then exactly 4 minutes and 59 seconds until the fatal blow of the scene.
8. The cops who appear at the hospital in Death Proof after Stuntman Mike's first crash are played by real life father-son duo Michael Parks and James Parks.
Miramax Films
They're also the officers who respond to the wedding day massacre in Kill Bill. Michael Parks was first introduced as police officer Earl McGraw in the Tarantino-penned From Dusk Till Dawn; his son, James, was introduced as Deputy Edgar McGraw in From Dusk Till Dawn 2: Texas Blood Money. Neither of their characters survive in the From Dusk Till Dawn films.
9. The real name of the Mr. Blonde character from Reservoir Dogs, played by Michael Madsen, is Vic Vega. Vega is also the last name of John Travolta's character Vince in Pulp Fiction.
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Tarantino has stated that the characters are brothers whom he intended to make a prequel about. The film, Double V Vega, has been abandoned since both Madsen and Travolta aged too much to do a prequel.
10. The closing credits of Jackie Brown gives special thanks to "Bert D'Angelo's Daughter," which is a reference to Tarantino's then-girlfriend, Mira Sorvino.
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In the 1970s, Paul Sorvino starred in the detective TV show Bert D'Angelo, Superstar, which makes Mira "Bert D'Angelo's Daughter." Mira herself can be spotted, out of focus, in the back of the courtroom during Jackie's arraignment.
11. Jamie Foxx and Kerry Washington's characters in Django Unchained are intended to be descendants of John Shaft from the Shaft films, which would explain Washington's character's name: Broomhilda Von Schaft.
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12. In Pulp Fiction, Samuel L. Jackson's character, Jules, has a "Bad Mother F**ker" wallet that belongs to Tarantino in real life.
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The inscription is an earlier reference to Shaft and its theme song. Jackson would go on to star as Shaft in the 2000 remake.
13. Kill Bill was Quentin Tarantino's first feature-length film to have fewer than 100 instances of the word "f*ck."
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It pops up in the film a mere 17 times. Reservoir Dogs has 272, Pulp Fiction has 265 instances, and the later-released Death Proof boasts 148 in its extended cut.
14. We'll never find out why Inglourious Basterds is spelled the way it is.
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Tarantino has said, "Here's the thing. I'm never going to explain that. You do an artistic flourish like that, and to explain it would just take the piss out of it and invalidate the whole stroke in the first place."
15. The scene in Pulp Fiction when Vince plunges the adrenalin shot into Mia's chest was filmed by having John Travolta remove the needle, which was already in place, from Uma Thurman's chest and then running the film in reverse.
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If you watch very closely, you can see a mark disappear from Mia's chest.
16. Death Proof has a stronger relationship to Dave Dee Dozy Beaky Mick and Tich than you realized.
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In the first crash scene of Death Proof, the four girls discuss and listen to the music of Dave Dee Dozy Beaky Mick and Tich. Musician Eddie Cochran died in 1960 after being thrown through the windshield of his taxi. David Harman, a young police cadet overseeing the investigation surrounding the crash, ended up teaching himself guitar on Cochran's impounded Gretsch from the wreck. Harman would later be known by a different name: Dave Dee, of Dave Dee Dozy Beaky Mick and Tich.
17. Even though The Bride's name isn't revealed to audiences until Kill Bill Vol. 2, 'Beatrix Kiddo' is visible on her plane ticket to Okinawa in the first film.
Miramax Films
This is one of the movie's little Easter eggs, along with the sole of her shoe saying "F*CK U."
18. Reservoir Dogs star Kirk Baltz asked to ride in Michael Madsen's trunk to understand what the experience would really be like. Madsen agreed, but, while driving, he decided it was an ideal opportunity to get into character himself.
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He subsequently drove down a long alley plagued with potholes and through a Taco Bell drive-thru before returning to the lot and releasing his co-star. The soda his character is drinking in his first appearance in the warehouse is the same one he bought himself at the drive-thru.
19. That's really Leonardo DiCaprio's blood in Django Unchained!
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When Calvin Candie smashes his hand down on the dinner table in Django Unchained, actor Leonardo DiCaprio really broke a glass under his hand and began to bleed. He stayed in character, however, and continued with the scene, eventually smearing his blood all over Kerry Washington's face. When the scene ended, Leo received a standing ovation from everyone on set, and this was the take that ended up in the final cut.
20. In Inglourious Basterds, Shosanna Dreyfus' father, who was briefly seen hiding beneath the floorboards, was played by Swiss actor Patrick Elias.
Universal Pictures
Elias' father, Buddy, is a first cousin of Anne Frank.
21. Pam Grier had tested for the part of Jody in Pulp Fiction, but it eventually went to Rosanna Arquette. Tarantino never forgot her though, and he eventually crafted the role of Jackie Brown specifically for her.
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In fact, the titular character was initially a white woman named Jackie Burke.
22. Every character killed onscreen, with the exception of the anime scene, in the Kill Bill movies met their fate at the hands of a woman.
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Elle killed Budd and Pai Mei; O-Ren Ishii killed Boss Tanaka; Gogo killed that Tokyo businessman; The Bride, of course, killed Vernita Green, Buck, Gogo, the Crazy 88s, O-Ren Ishii, and, yes, Bill.
23. Even though she liked the movie, Madonna sent Tarantino a copy of her Erotica album with a note that read, "To Quentin, it's not about dick. It's about love. Madonna."
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The note is a reference to the opening conversation of Reservoir Dogs where the characters discuss the meaning of "Like A Virgin."
24. Tarantino came up with the idea for Death Proof afer buying a Volvo because he "didn't want to die in some auto accident like the one in Pulp Fiction."
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His friend joked in response to Quentin's preference for the safe vehicle by saying, "you could take any car and give it to a stunt team, and for $10,000 or $15,000, they can death-proof it for you," and the phrase stuck with Tarantino ever since.
25. Initially, Tarantino couldn't decide which character he wanted to play in Pulp Fiction.
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He was between Jimmie and Lance, but opted for Jimmie once he realized he wanted to be behind the camera during Mia's overdose.
26. Chiaki Kuriyama, the actress who plays Gogo in Kill Bill, accidentally hit Quentin Tarantino in the head with her meteor hammer while he was filming that scene.
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27. Jules' iconic Bible passage was mostly made up by Quentin Tarantino and Samuel L. Jackson.
"And I will strike down upon thee with great vengeance and furious anger. And you will know My name is the Lord when I lay My vengeance upon thee" is the only part that's even similar to what's in the scriptures. The righteous man and the shepherd? Not real.
28. At the end of Inglourious Basterds, Brad Pitt's character pretends to be an Italian actor named "Enzo Girolami," which sounds a little familiar...
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Enzo Girolami is the birth name of the director of the 1978 film, The Inglorious Bastards (Enzo G. Castellari).
29. As part of John Travolta's "research" into heroin addiction for the role of Vincent Vega, he (and his wife, happy to help) lined tequila shots along the edge of his hotel hot tub and drank them all while soaking in the hot water.
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Tarantino had referred Travolta to a recovering addict, who gave this piece of advice: "If you want to get the 'bottom envelope' feeling of that, get plastered on Tequila, and lie down in a hot pool. Then you will have barely touched the feeling of what it might be like to be on heroin."
30. Uma Thurman initially rejected the role of Mia Wallace.
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In order to get her to sign on to Pulp Fiction, a desperate Tarantino read her the script over the phone and convinced her. It was during the filming of the 1994 classic that the pair began to develop the concept of Kill Bill. Uma was given the script, along with the offer for the role of "The Bride," as a 30th birthday present from Tarantino.
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Pop stars Joe Jonas, Ciara and Nicole Scherzinger are teaming up to put their hidden talents to the test on a new U.S. variety show. The singers will join The Hunger Games: Catching Fire actor Alan Ritchson, comedian Jeff Dye and former Dancing With the Stars professional Cheryl Burke for the forthcoming I Can Do That!, which will debut this summer (15).
The hour-long weekly competition, which will be hosted by funnyman Marlon Wayans, will pit the celebrities against one another as they attempt to complete tasks using skills they never thought they had.
Paul Telegdy, the NBC network's president of alternative programming, says, "We're excited to watch our all-star cast rise to the challenges ahead in such a fresh, new way.
"Our viewers are going to fall in love with how these natural born entertainers push themselves outside of their comfort zones to put on a spectacular show every week."

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
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But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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British producer Naughty Boy has thrown his support behind a new pet neutering campaign for activists at People For the Ethical Treatment of Animals (PETA). The songwriter, real name Shahid Khan, is fronting the latest celebrity promo by posing with a cute cat for the organisation's new advertisements, which features the tagline, "It's Naughty Not to Neuter".
In a statement, Naughty Boy writes, "There's no excuse for not neutering. Animal shelters are severely crowded with dogs and cats, and that will continue as long as too many puppies and kittens are being born. We can fix the problem by 'fixing' our dogs and cats."
The La La La hitmaker joins the likes of fellow British PETA supporters Sir Paul McCartney, Morrissey, comedian Ricky Gervais and singer Alexandra Burke, who have all lent their backing to previous animal rights campaigns.

Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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First, let's start with the bad news: The Mayan calendar (and, more importantly, a stellar John Cusack movie) have confirmed that the world is ending in a few weeks. I know, right? And we were all totally going to lose those 15 lbs and start journaling in 2013. Then there's the even worse news: You missed a lot of really good TV in 2012. So much good, in fact, that you have no hope of catching up before the end of days. That's where we (and the good news) come in — we've rounded up the best TV spoilers of 2012, so you can spend your remaining days with your family, or whatever. SPOILERS AHEAD, but sorry — no one will ever know who actually killed Alison DiLaurentis on Pretty Little Liars.
Let's start with the little guys:
How I Met Your Mother: Drama! It was eventually revealed that Barney (Neil Patrick Harris) is marrying Robin (Cobie Smulders). Also, Victoria (Ashley Williams) left her future husband at the alter for Ted (Josh Radnor), but they broke up afterwards because Ted wouldn't stop being friends with Robin. Those crazy kids!
The Office: Angela (Angela Kinsey) found out that her husband was cheating on her with Oscar (Oscar Nuñez). Way to be a good coworker, Oscar.
Parks and Recreation: Speaking of workplace comedies, Leslie (Amy Poehler) and Ben (Adam Scott) finally became engaged! It was adorable.
You still with me? Good. Because it all goes downhill from here. Time for some suicides and martyrdom:
Sons of Anarchy: The universally beloved Opie (Ryan Hurst) was brutally murdered early in the show's fifth season — sacrificing his life for the club in the most horrendous way possible (he was beaten to death with a lead pipe).
Mad Men: Then there was the tragic tale of Lane Price (Jared Harris), the British sap who hung himself in his office after he found himself in financial trouble, and was fired by Don. Not a dry eye in the house.
But not all major deaths on TV this year were via suicide — 2012 was huge for killing, or being killed by, children. Let's explore, shall we?
Breaking Bad: In the former category, the artist formerly known as Landry (Jesse Plemons) from Friday Night Lights (now known as Todd on Breaking Bad) murdered a small child after said child witnessed Todd, Walt, and Jesse robbing a train. It was probably the most disturbing moment on TV this year, which says a lot, given our next spoiler.
The Walking Dead: This one sounds horrific, but it actually made a lot of people happy — Lori (Sarah Wayne Callies) died via C-section childbirth during a Walker attack on Walking Dead. Doc Herschel and the rest of the Grimes Gang were busy fighting Walkers in the prison, so Lori's son Carl (Chandler Riggs) had to watch while Maggie (Lauren Cohan) tore out her baby with a dirty knife. Then Carl shot her, before she rose again. It was a classic mother/son coming-of-age moment.
Downton Abbey: This one really hurt. Lady Sybil (Jessica Brown Findlay) from Downton also died during childbirth — but she didn't become a zombie, so she should just shut up and count her blessings.
Those were all really depressing, so let's move on to justice — quite a few criminals were caught in 2012:
Breaking Bad: First and foremost there's Walter White (Bryan Cranston), the drug kingpin currently known as Heisenberg . We haven't yet seen the aftermath, but the first half of Season 5 ended with Walt's brother-in-law Hank (Dean Norris) learning his dirty, methy secret. Dun dun dun.
Dexter: This was a long time coming — Deb (Jennifer Carpenter), the brilliant Miami Metro detective, finally learned that her brother is a serial killer. So far, she's been taking it surprisingly well.
The Killing: Oh, we finally found out who killed Rosie Larsen. It was her Aunt Terry, sort of. Then the show got canceled.
Homeland: Nick Brody (Damian Lewis) was found out and captured by the CIA much, much earlier than anticipated. He's now working with them as a double agent, which is never easy when your other agency is TERRORISM.
Enough with all the humans. Supernatural spoiler time:
The Vampire Diaries: Elena (Nina Dobrev) became a vampire at the end of the third season's finale. This season, she totally dumped Stefan (Paul Wesley) and slept with Damon (Ian Somerhalder). Bad girls do it well.
Fringe: Peter (Josh Jackson) willingly turned himself into an Observer after his daughter, Etta (Georgina Haig), was killed. It was horrifying. He's going bald!
True Blood: The newly single Bill (Stephen Moyer) willingly drank the blood of the ancient, evil vampire Lilith at the end of last season — rising as an evil entity, and effectively earning the nickname "Billith." Run, Sookeh!
Now let's move on to family drama:
Revenge: Season 1 of ABC's new(ish) hit ended with Emily (Emily VanCamp) learning that her long-lost mother (Jennifer Jason Leigh) was still alive, while everyone else thought that Victoria Grayson (Madeleine Stowe) had died. She hadn't, and Emily's mother ended up being very, very boring.
Revolution: Meanwhile, over on NBC's latest hit, good-guy Miles (Billy Burke) was revealed to have started the evil Monroe Militia — the same militia that recently kidnapped his nephew. (And they still haven't turned the lights on.)
Game of Thrones: In a case of outright family treachery, Theon (Alfie Allen) betrayed the Starks by storming Winterfell, pretending to kill young Bran and Rickon, and slaughtering many of their people.
Oh, and Klaine broke up on Glee. Follow Shaunna on Twitter @HWShaunna [PHOTO CREDIT: AMC, Showtime] MORE: Leanne's Spoiler List: 'True Blood' Wants Fresh Meat, 'Parenthood' Heads to Court, &amp; More! Leanne’s Spoiler List: 'AHS: Asylum' Mommy Issues, Love and Loss on ‘Dexter’ Leanne’s Spoiler List: Love is Shaky on ‘Grey’s Anatomy,' ‘Vampire Diaries’ Gets Darker
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
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First thing's first: Magic Mike delivers on the eye candy. Club Xquisite the wildest male strip club in Tampa sports an ensemble of muscled men ready to flash their ridiculous moves in even more ridiculous dance numbers (this crew has never seen a pair of assless pants they didn't like). Bringing a few dollar bills to the movie is recommended — Magic Mike is shot up close and personal enough that flailing them about will come naturally.
But between the codpieces air humping and penis pumps Magic Mike tells a surprisingly relatable funny and poignant parable centered on a character all too familiar to anyone with an ounce of ambition. Mike (Channing Tatum) leads a triple life: By day he's a roof tiler; by night an exotic dancer; and in his dreams he's a furniture craftsman and entrepreneur. When Mike first crosses paths with Adam (Alex Pettyfer) his worries about the future are dispelled slipping right into mentor mode to show the 19-year-old the wonders of sex drugs and rock and roll. Adam's broke and without direction — the perfect state of being for a stripper-in-the-making. Mike's sales pitch is irresistible and when Adam unwillingly takes the stage for the first time he feels the rush of a dozen woman screaming groping and stuffing singles down his jock strap. There's no question: A stripper's life is a journey worth embarking on.
In his typical fashion director Steven Soderbergh (Traffic Erin Brockovich) defies conventions sticking with Mike's ups and downs rather than transforming Magic Mike into a Goodfellas-esque "newbie in over his head" story. Between playing protector to the mesmerized Adam and attempting to strike up an actual relationship with Adam's sister Brooke (Cody Horn) Mike finds himself for the first time looking inward. Does a job define a man? He's convinced it doesn't but as Adam loses himself to the profession becoming the Xquisite's cutthroat owner Dallas' (the wonderfully slimy Matthew McConaughey) right-hand man and parlaying the gig into more dangerous ventures Mike realizes breakdancing in thongs may be more poisonous to his dreams than he ever realized.
Exploitation Magic Mike is not. The film's dance sequences are sexy and sleek but only to clue the audience into the job's allure. Backstage is equally important; Soderbergh does an amazing job constructing the boy's club atmosphere that keeps Mike and Adam coming back. Lively characters like Ken (Matt Bomer) and Big Dick Richie (Joe Manganiello) say little but speak volumes in the background of every scene. They're palling around and when they finally do reach out to Adam to profess their friendship it makes perfect sense. For a guy without a family the dancers are a perfect replacement.
While the cast is stellar Tatum continues his streak of star-making performances in the role of Mike. Obviously the man can dance — and he blows any memories of Step Up into oblivion. Beyond that he's perfectly in tune with Soderbergh's naturalistic style cool on his feet with the comedy and devastatingly subtle in the drama. His rapport with Horn who is equally striking in her casual approach is sweet and real a constant reminder that even a guy who lap dances in a fireman costume for a living has feelings too. Soderbergh enhances each of his performers with spot on photography: His Tampa is gritty and yellow-tinged the interior of the club a safe haven from the blase nature of reality. Magic Mike carries a full package.
Magic Mike hits all the right notes of comedy and drama that's completely unexpected in the summer blockbuster surroundings. Come for the stripping stay for the high-caliber filmmaking. Magic Mike is one of the year's best.
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